Disharmony: 1991–2002

This chapter covers the period from the election of General Scard as General Secretary through to his replacement by Derek Kay and the internal machinations which ended with John Smith being elected General Secretary in 2002. Reorganisation of the UK’s orchestras is reported. Internal restructuring of the Union is noted and problems around the 2000 election for General Secretary are reported.

Boom and bust: 1919–1933

This chapter outlines the AMU’s history immediately post 1918 and its moves towards merger with the National Orchestral Union of Professional Musicians (NOUPM) to form the Musician’s Union (MU) in 1921. It examines the resignation of Joe Williams and the problems faced by his successor as General Secretary, E.S.Teale and his successor, Fred Dambman. Changes within the music profession as musical tastes change are outlined. The advent of broadcasting is discussed and the BBC’s developing role as a key employer of musicians is highlighted. The development of the recording industry is discussed and the crisis in musical employment caused by the advent of the “talkies” in the cinema outlined. Problems caused for the Union by “alien” musicians working in the UK are noted.

Beginning again: the MU in the twenty-first century

This chapter covers the modern era of the MU. It begins by noting internal reorganisation with the Union before examining its role in campaigning for reform of the licensing of live music and copyright. The Union’s attitude toward equalities issues is discussed before th chapter concludes by outlining its current role.

The John Morton years: 1971–1990

The chapter reports on the impact of the election of Joh Morton as General Secretary on the Union and outlines developments during his years in office. Attempts to split the MU and attempts to make the Union more relevant of popular musicians are reported. The advent of commercial radio and the Union’s response to it are outlined. The 1977 Annan Report is outlined and the continuing importance of the Performing Right Tribunal stressed. Trade Unions reforms and a key Monopolies and Mergers Commission report on Collective Licensing are explained. A strike at the BBC is reported.

Introduction

The book begins with reflections on the Musicians’ Union 2015 conference and the some of the perennial themes which such events have addressed. It then outlines the sources used for the book including previous literature, archives and interviews. The book’s theoretical paradigm – that musicians are best thought of as particular sorts of workers is then outlined. We then address a number of key themes which recur in the book including technology, the music industries, musical tastes, competition and gender.

Conclusion

In 1990 Simon Frith wrote that ‘The Musicians’ Union remains scandalously neglected as an object of popular music research’ (1990: 257). We hope that the previous pages have at least lessened this scandal. As researchers located within popular music studies, we have endeavoured to illustrate the importance of the Union for ...

The beat generation: 1956–1970

The chapter spans the period between the Copyright Act of 1956 and the 1970 general election. It discusses the impact of skiffle and beat groups and the development of the recording industry. The position of the UK’s orchestras is outlined. Internal machinations within the Union are reported, including the election of a new General Secretary, John Morton, in 1970. The development of the Keep Music Live campaign is highlighted. The development of ITV, relationships with the BBC and advent of pirate radio are reported. The reciprocal exchange of musicians across the Atlantic is explained.

The politics of dancing: 1934–1945

This chapter outlines the history of the MU from the mid 1930s to the end of the Second World War. It includes sections on the state of the music professions, the Union’s internal politics, the introduction of a “ban” on foreign musicians entering the UK to work, relations with the BBC and PPL and the effect of war in the music profession

Early days: the Amalgamated Musicians’ Union, 1893–1918

This chapter outlines the early history of the Amalgamated Musicians’ Union (AMU) and the work of its first General Secretary, Joseph Bevir (“Joe”) Williams. It illustrates the types of work undertaken by musicians in the last nineteenth and early twentieth century. Debates about whether musicians’ collective interests are best served by a trade union or a professional association are outlined. The key issues facing the Union in its early days are discussed including competition from military bands and European immigrant musicians, recruitment, strikes, the Union’s penchant for litigation, its efforts to communicate with members and its political lobbying and campaigning. The effect of the First World War on the AMU and musical employment is also outlineds.

Musicians’ organisations before 1893

This chapter outlines the history of musicians’ representative organisations before the formation of the Amalgamated Musicians’ Union in 1893. It traces developments from the fourteenth century to the late nineteenth, examining the various fraternities, brotherhood guilds and societies which were formed. Issues of protectionism, benevolence and organisation are raised. The moves towards a re trade unionism are outlined in the context of the growth of new unionism. The formation of the Amalgamated Musicians’ Union (AMU) and thee rival London Orchestral Association (LOA) are outlined.